Again, so sign of the audience until the applause at the end. How do they do it ?
Perhaps then we should applaud the audience.
Do you doubt that this is a live and unedited recording? I have no way of proving it, but you'll have to take my word for it that the only "editing" I did on this recording was splitting it up into tracks.
I wish you'd taken the finale a bit slower, and invested more in power than speed.
Absolutely. This is a problem with my playing in general — I tend to play much faster than I intend to (and much faster than I think I'm playing!) when I play for an audience. Soon after starting the third movement of the Prokofiev during this recital, I remember thinking to myself "this is too slow". And of course it wasn't! I've got to learn how to temper my adrenaline.
Your ritenuti at the end of movements are too pronounced and start way too early
Again, this is an unfortunate tendency of mine that I am often chastised for and that I need to avoid.
On the subject of performing pieces too soon after learning them — I know that as I get more experience performing a particular piece, I'll play it better — all the more reason to start performing it early, to "get it into my system", as it were — especially if my first few performances of a piece are for a small and relatively familiar audience, for example the Bard community (and perhaps a few other people from the neighborhood). That way, when I eventually play it at an important concert or competition, I'll have performed it enough that the setting and/or audience shouldn't unfaze me.
Speaking of which, next Tuesday I'm going to be performing the Liszt sonata, having started learning it less than three months ago, and the Bach—Busoni Chaconne much less. Wish me luck!
After working on the Liszt for a couple weeks with my teacher and then playing it from memory for him, he said "now what you need is to perform it, and then you'll play it better." That might sound paradoxical, but I think it's very true.